The House of Secrets

1936's "The House of Secrets" has an interesting story and excellent cast, but unwinds in maddening fashion. Liverpool-born Leslie Fenton ("The Public Enemy") stars as an American in England, who finds his own inherited mansion already occupied by strangers armed with guns. Occasionally we hear wild screams, and there's rumored to be buried treasure, livened up by strong performers such as Sidney Blackmer, Morgan Wallace, Holmes Herbert, and perennial gangster Noel Madison. Love interest is supplied by the comely Muriel Evans, whose career in features never surpassed her extensive career in Hal Roach comedy shorts, working with Laurel and Hardy, Grady Sutton, and especially Charlie Chase (retiring by 1940, she died in 2000). Leslie Fenton had four more acting roles ahead, switching to directing in 1938, piling up an impressive total of 20 features by 1951 (he died in 1978). This was virtually the last gasp for Chesterfield Pictures, an independent outfit responsible for over 100 features over its 11 year lifespan.

The House of Secrets starts with an intriguing shipboard encounter: Leslie Fenton (as Barry) assists Muriel Evans (Julie) escape the unwanted attentions of a stranger. She thanks him nicely—but when he attempts to take a look in her handbag for whatever it was the stranger was after, she—get this—throws the whole bag overboard rather than let him see its contents! Hmm, mysterious.

Not surprisingly, they soon meet again (in a major but not shocking coincidence, she happens to be living at the large estate he has just inherited), and she becomes one of numerous characters determinedly resisting Barry's attempts not only to enter his own property, but to find out what the heck is going on. These characters include practically everyone else in the story—his detective friend, Julie's scientist father, some police and government officials, and a gang of crooks after a hidden treasure.

The plot is fast-moving and fairly intricate, and the dialog is mostly sharp. However, as the story progresses, frustration builds—not only for Barry but for us viewers, who also have no idea why everyone is trying so hard to keep him in the dark. By late in the film, my own sympathies had shifted almost entirely over to the gang of crooks, because at least they were straightforward about what they wanted, which is something you can't say about any of the other characters.

The movie also features an ancient document written in "old English," which means it has some words like "ye" and "olde" in it, that is fun for the gangsters to try and sound out. And an inn landlady offers some entertaining colloquial dialog, like her criticism of her husband's aches and pains: "He calls it rheumatism, but I calls it arthritis. I likes to keep up to date." Nothing is particularly authentic, but hey, I point that out in fun, not as a real quibble with the film. Overall, the dialog is one of this film's quite interesting qualities.

Overall: well done—but maddening.

Likable cad Fenton stars as an affable, assertive gent who inherits a mansion following the death of a distant uncle. When he attempts to take possession of the mansion, he discovers a group of shady characters occupying the house, including a sultry beauty (Evans) with whom he had a bizarre encounter on the ship across the Atlantic. Along with his detective pal (Blackmer), the pair soon discovers that there's more than meets the eye to the supposedly haunted house, its strange occupancy (a raving lunatic) and a gang of murderous thieves converging on an alleged hidden treasure.

It's all happening at a brisk pace, with fast-talking Fenton quite a gregarious chap, Evans an attractive and mysterious vice, while in my opinion, Blackmer was the best performer, displaying a professionalism and ease that made him a bankable talent for six decades in a long and illustrious career.

While the conclusion is a little hackneyed, there's some effort gone into the neatly woven plot, with all loose ends tying together, albeit a little conveniently. It's the strength of the three leads (Fenton, Evans and Blackmer) that elevates this run-of-the-mill tale to average status.

Although not perfect, this is a film that cheats its audience in order to have a proper running time, this is still a good film. The basic plot has a man from America going to England because he has inherited a house. Amazingly when he gets there, he finds that there are people there already who threaten him and run him off. With the help of a friend who is a well known detective he tries to get to the bottom of it all and falls in love in the process.

This is a very good old dark house story, or would be if the film were really set in the house. Much of the movie is involved in getting into the house and in wooing the girl.

As I mentioned earlier this is also a movie that can be frustrating since several times characters are about to talk about whats going on when the movie fades to black or cuts to the next scene. Its annoying, for some fatally so, for me I just shrugged and went with it. There is no reason for the fades , other than to annoy the audience since in all but one instance and earlier fade out would have been less maddening.

Should you run across this on late night TV give it a shot. Its a nice way to spend an hour.

I like the Chesterfield stable of 1930s mysteries which is where this one hails from. This film is a modest affair but it does have an out and out mystery thing going for it.

An American man finds he has inherited a property in England but he is barred from entering it from the outset. He's unable to trust anyone as he is sold all sorts of information about this old country house. He doesn't know if the Hawk's Nest manor is already occupied by a bunch of crooks or a bunch of cranks. There are all kinds of mystery ingredients to the story which include a 300 year old manuscript and scientific experiments and a couple of big mysterious cellars.

There are no characters that immediately spring out. My favorite is the friend of the American inheritor. A fellow American man called Tom who is solidly played by Sidney Blackmer. He got to play the lead in a later mystery called 'The Panther's Claw' (1942) which I recommend to genre fans.

Some of the dialog is fairly good. I like the posters for this film especially the green ghoulish one that has the Hawk's Nest in the background. As expected the critical rating by the film general viewer is never going to be that great for this one. But I think the typical 1930s B-mystery fan will find it irresistible.